From the first few minutes of Joel and Ethan Coen's film adaptation of Cormac McCarthy's novel, "No Country for Old Men," I was hooked. The opening scenes of the Texas hill country vaguely remind me of the golden beauty of Tuscany--a wild starkness sans the cypress trees that suggests the purity and serenity of an open landscape where from the beginning of time, men roamed simply because they wanted to and could. These men learned to manage not only the land--making it work for them in a symbiotic way where neither was destroyed and a careful reverent balance was maintained--but also and more importantly controlled the insidious evil that unfurled within this domain since the snake slithered into the Garden of Eden. As one of the triumvirate of main characters, Anton Chigurh, played with a succinct and taciturn cruelty by Javier Bardem, proves as he strangles his arresting officer with the very cuffs meant to restrain him, now darkness pervades; moral stability still lives on, albeit conditioned by what is thought to be lackadaisically acceptable for "modern" times. Most definitely, the delicate balance once barely managed has spiraled out of the control of its sentinels.
But what can be done about this rampant evil? Nothing much, it seems. We are damned if we do, and damned if we don't.
In "No Country for Old Men," the inundation of evil (call it corruptness, depravity, immorality . . .whatever) that began with less dramatically insistent indicators like the absence of manners--no longer requiring the respectful usage of `sir' and `ma'am'--or the breakdown of appropriate dress--eyesores like wearing green hair and piercing bones in one's nose--has accelerated to an intensity level where drug deals, bloody carnage and murders are commonplace. The infringement of this darker tolerance brings with it a Pandora's box of latter day plagues that symbolically battle-worn lawmen like Sheriff Ed Tom Bell (Tommy Lee Jones) attempt to clamp shut--with limited success. One gets the sense of an overwhelming encroachment of all things bad--things that after awhile seem tame only through the conditioning of what we are told is acceptable. Indeed, Bell knows that monsters like Chigurh are legion; wearing a marked world-weary grimace of frustration and futility on his face, he regrets, as his retirement looms, that time has outdated his methods and has matured him into the role of commentator rather than activator. His hopes and aspirations lie now only in a field of dreams in which he must eventually awaken.
In sharp contrast to Bell's caricature of the quintessential onlooker, Vietnam vet Llewelyn Moss (Josh Brolin)--his brash economy of motion belies his way lesser rank in the war between good and evil stalks the Texas hills with the easy nonchalant grace of the antelope he hunts. Happening upon a drug deal gone wrong and the ultimate riches-of-the-city temptation--a valise filled with money that could enrich his life with his pretty little wife (Kelly Macdonald) 2.4 million-fold, he catapults into a plan that Sheriff Bell realizes from afar will take him down. Most of the film's action follows Moss as he attempts to outsmart the devil incarnate (the tenacious Bardem sporting a haircut reminiscent of a dark-side 70s Gerard Depardieu and his weapon of choice--a nasty little dehumanizing compressed-air-mechanized stun gun used to kill cattle.) Minor characters pop up like targets in an arcade shooting game--mere examples of the genuine coldness of this killer and the Coen brothers' penchant for over-the-top, gory, eye-popping brutality that almost desensitizes the audience like an overexposure to the horrific behavior of Hannibal Lecter in the three Thomas Harris inspired films.
Not only do the Coen brothers enjoy a good blood bath, they take pleasure in bitter twists of irony. Greed motivates the good guy--Moss fights tooth and nail to keep tainted money and jeopardize his wife's security--while a bald honesty holds bad guy Chigurh in check; the strange Anton allows his victims a choice by which he religiously stands. Oddly, for him, a promise made becomes a promise kept.
In terms of performance, the workings of all three of the major roles here border on what seems an effortless genius. In particular, Bardem enthralls each and every time he enters a scene wielding that oxymoronic brand of macabre attraction and repulsion is reminiscent of Anthony Hopkin's skill in portraying the murderous cannibal in "The Silence of the Lambs." Brolin forges headfirst--his would-be sheep-for-the-slaughter a veritable thinking machine of non-stop action. Jones brings all his wryness to this role--the character Bell seems written specifically to display the adeptness of his acting ability.
Bottom line? "No Country for Old Men" is not intended for a general audience--so parents think twice about bringing children into the theatre to see this one. The images of bloody brutality come swiftly with little warning--I spent much of the time squeezing my eyes shut to avoid the virtual spatter of blood. Otherwise, the film, seemingly an allegory for the eternal battle between good and evil extends beyond the obvious clouding over with nihilistic predetermination while presenting a world where conditioning to the nastier aspects of life renders all that blood-letting mere accoutrements meant to entertain rather than horrify. Fascinating and highly recommended. Diana Faillace Von Behren "reneofc"
Wow. Great movie. I saw this movie at the Rialto in Raleigh, NC, which is worth a trip in itself as an old school "movie palace". The lobby is about the size of my kitchen at home, just enough room for a concession stand, then double doors open directly into the big theatre with a concrete floor sloping down to the big screen on a real stage. Stepping through those double doors is a 50-year step backwards, but the place looks like it has been recently renovated as the floor is clean, the seats are … more
NO COUNTRY FOR OLD MEN I don't know about you but I have always been a huge fan of the Coen Brothers Joel and Ethan, I have liked every film the two have put together. This is no exception and is just another classic in a long list of classics, both theatrically and on DVD this is a brilliant film. I can honestly say that a lot of the time I do not agree with the winners or even the nominees chosen by the Academy for the Oscar but they got it right … more
Sheriff Ed Tom Bell is a good sheriff. He can put together a crime scene and get in touch with who he needs to. Never gets hurt and does a good job keeping the peace. One day though an ugly and violent crime is enough to put him out to pasture. It was enough to make him realize how just like all those disgusting crimes across the country he only read about in newspapers, has finally come home to West Texas. Towards the end of his tenure as Sheriff, an old friend of … more
I was sheriff of this county when I was twenty-five years old. Hard to believe. My grandfather was a lawman; father too. Me and him was sheriffs at the same time; him up in Plano and me out here. I think he's pretty proud of that. I know I was. Some of the old time sheriffs never even wore a gun. A lotta folks find that hard to believe. Jim Scarborough'd never carry one; that's the younger Jim. Gaston Boykins wouldn't wear one up in Camanche County. I always liked to hear about the oldtimers. Never … more
The story opens in the desolate west Texas countryside, as Llewelyn Moss (Josh Brolin) stumbles upon a drug deal gone bad and makes off with a suitcase full of money. He figures he'll be followed and he's right; Anton Chigurh (Javier Bardem), a ruthless and patient killer, is after him. Chigurh is, in turn, being tracked by the local sheriff (Tommy Lee Jones), a good ol' country boy who's amazed at how violent criminals have become lately. I'd heard this was a bloody guy-movie … more
(to the tune of El Paso by Marty Robbins) Close by the West Texas town of El Paso There was a drug deal that went very wrong Llewellyn, he fled with a bag full of money Came back to the scene, but he took far too long Blacker than night was the heart of the Chigurh Wicked and evil and killing for fun He soon went after Llewellyn's new treasure Armed with a captive bolt cow stunning … more
I honestly thought this movie was going to be alot different that what it was....poor guy couldn't catch a break :) I was a bit disappointment by the movie. I didn't except it to end the way it did and just got a bad feeling through the whole movie that it probably wasn't worth all he had to go through. I've also seen better acting from Tommy Lee Jones, really in my opinion the worst I've seen.
The Coen brothers make their finest thriller sinceFargowith a restrained adaptation of Cormac McCarthy's novel. Not that there aren't moments of intense violence, butNo Country for Old Menis their quietest, most existential film yet. In this modern-day Western, Llewelyn Moss (Josh Brolin) is a Vietnam vet who could use a break. One morning while hunting antelope, he spies several trucks surrounded by dead bodies (both human and canine). In examining the site, he finds a case filled with $2 million. Moss takes it with him, tells his wife (Kelly Macdonald) he's going away for awhile, and hits the road until he can determine his next move. On the way from El Paso to Mexico, he discovers he's being followed by ex-special ops agent Chigurh (an eerily calm Javier Bardem). Chigurh's weapon of choice is a cattle gun, and he uses it on everyone who gets in his way--or loses a coin toss (as far as he's concerned, bad luck is grounds for death). Just as Sheriff Bell (Tommy Lee Jones), a World War II vet, is on Moss's trail, Chigurh's former colleague, Wells (Woody Harrelson), is on his. For most of the movie, Moss remains one step ahead of his nemesis. Both men are clever and resourceful--except Moss has a conscience, Chigurh does not (he is, as McCarthy puts it, "a prophet of destruction"). At times, the film plays like an old horror movie, with Chigurh as its lumbering Frankenstein monster. Like the taciturn terminator,No Country for Old ...